Album Reviews by Ric Albano – Page 5

Young Americans by David Bowie

March 7, 2020

by Classic Rock Review with No Comment Album Reviews

For his ninth studio album, David Bowie decided to move in a radically new direction with the soul and R&B infused 1975 album Young Americans. On this record, which was recorded mainly in Philadelphia, Bowie collaborated with diverse musical legends such as Luther Vandross and John Lennon in fulling his legitimate quest to produce a solid cross-genre album. The result was a commercial success which resulted in a Top 10 album on both sides of the Atlantic.

Following the release of 1974’s Diamond Dogs, Bowie embarked on a North American tour, complete with a high-budget stage production and theatrical special effects. Ultimately, this tour spawned a documentary entitled Cracked Actor as well as the live album, David Live, which was a worldwide hit and is highly acclaimed as a live album. During the tour, Bowie also became deeply enamored in American Soul music and during a break in the tour he convened some recording sessions.

These initial sessions were from August through the Fall of 1974 with producer Tony Visconti and a variety of musicians loosely called the Sound of Philadelphia, including Vandross and guitarist Carlos Alomar. Much of these sessions were recorded live in studio for a more authentic feel and during these sessions several non-album tracks were recorded, including the single “John, I’m Only Dancing (Again)”, a sequel to a 1972 non-album single. Later sessions during the winter of 1974-1975 (including those where Lennon contributed) took place in New York City with engineer Harry Maslin.

Young Americans by David Bowie
Released: March 7, 1975 (RCA) Produced by: Tony Visconti, Harry Maslin, & David Bowie Recorded: Sigma Sound, Philadelphia, August 1974 – January 1975
Side One	Side Two
Young Americans Win Fascination Right	Somebody Up There Likes Me Across the Universe Can You Hear Me? Fame
Primary Musicians
David Bowie – Lead Vocals, Guitar, Keyboards Carlos Alomar – Guitars Earl Slick – Guitars David Sanborn – Saxophone Willie Weeks – Bass Andy Newmark – Drums

The consistent sax David Sanborn along with the excellent chorus backing vocals lead the opening title track. “Young Americans” proved to be a commercial breakthrough for Bowie in the United States as a Top 40 hit due in part to its cynical and timely lyrics and overall catchy energy. “Win” follows as a steady Soul ballad topped with Bowie’s slightly contrasting English folk which makes the whole effect a bit psychedelic. Vandross co-wrote the song “Fascination”, which derived from a song called “Funky Music”. This version prominently features the clavinet of Mike Garson and is a real showcase for bassist Willie Weeks.

While less cohesive than much of the previous material, the first side closer “Right” does feature an excellent short guitar lead by Alomar. The beginning of side two starts with much of the same style. “Somebody Up There Likes Me” is the album’s longest and (seemingly) most vocally improvised of the album tracks as Bowie’s vocals reach for the next level, even briefly going falsetto in the coda section. Then, in a break in genre, comes a bluesy rock cover of The Beatles’ “Across the Universe”. However, there are some distinct divergences, such as the chorus mantra “jai guru deva om” omitted and the song changing keys for the third verse and newly extended coda section.

David Bowie

The album ends strong with two distinctive tracks. “Can You Hear Me?” is an excellent Soul ballad with cool rhythms and a potent outro which dissolves to solo vocals. The closing track “Fame” was a smash hit written by Bowie, Alomar and John Lennon. This catchy dance track at the forefront of disco became Bowie’s first number 1 single in the US and Canada as it explored the mixed blessings of being famous.

Bowie’s foray into Soul music partially persisted into his transitional follow-up Station to Station in early 1976, after which he reflected back with the compilation Changesonebowie later that year.

Part of Classic Rock Review’s celebration of 1975 albums.

Against the Wind by Bob Seger

February 29, 2020

by Classic Rock Review with No Comment Album Reviews

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In early 1980, Bob Seger completed his trifecta of commercial smash hit albums with the release of Against the Wind. It was his eleventh overall studio album, the fourth to feature (in part) the Silver Bullet Band and the second to include some tracks recorded by the Muscle Shoals Ryhthm Section. While building on the tremendous success of his previous two releases, this record ultimately became Seger’s only number one album as it spent six weeks on top of the American album charts.

With a long and winding career that dated back to the early 1960s, Seger finally achieved his widespread commercial breakthrough the 1976 album Night Moves and this was followed up with the nearly-equally as successful 1978 album Stranger in Town. Seger also rose as a cross-over composer as he co-wrote the Eagles’ #1 hit song “Heartache Tonight” from their The Long Run and his song “We’ve Got Tonight” later became a worldwide hit for Kenny Rogers and Sheena Easton in 1983.

Co-produced by Seger with Punch Andrews and Bill Szymczyk, Against the Wind alternates between Seger’s reflective, mid-tempo acoustic ballads and upbeat, slick old-time rockers with simpler themes.

Against the wind by Bob Seger
Released: February 25, 1980 (Capitol) Produced by: Punch Andrews, Bill Szymczyk & Bob Seger Recorded: 1979
Side One	Side Two
The Horizontal Bop You’ll Accomp’ny Me Her Strut No Man’s Land Long Twin Silver Line	Against the Wind Good for Me Betty Lou’s Gettin’ Out Tonight Fire Lake Shinin’ Brightly
Primary Musicians
Bob Seger – Lead Vocals, Guitars Drew Abbott – Guitars Chris Campbell – Bass David Teegarden – Drums, Percussion

“The Horizontal Bop” starts things off as a heavy blues rocker with an extended jam towards the end. This song was later released as the fourth single from the album, but failed to reach the Top 40. In great contrast to the opener in both style and success, “You’ll Accomp’ny Me” is a fine acoustic ballad with dynamic vocals by Seger, which reached the Top 20 on the Billboard Hot 100. The cool, riff-driven hard rocker “Her Strut” is the real highlight of Side One, with Seger’s treated lead vocals delivering catchy lyrics along with the potent bass by Chris Campbell and the indelible guitar riff Drew Abbott.

The Muscle Shoals Rhythm section comes in for the next two tracks, the pleasant acoustic folk “No Man’s Land” with a fine closing guitar lead by Pete Carr and the upbeat rocker “Long Twin Silver Line”, which features an interesting ascending verse melody. While the Silver Bullet Band returns to back the masterpiece title track, the song is musically highlighted by the piano of guest Paul Harris. This masterful composition with a dedicated coda features lyrics which compare Seger’s high school days as a long distance runner with the rat race and duplicity of the music industry.

Bob Seger live

For the rest of Side Two, the album thins out a bit in quality with a pleasant country waltz of “Good for Me”, the old time rock-n-roll of “Betty Lou’s Gettin’ Out Tonight” and the Eagles-like country folk of “Shinin’ Brightly”, which finishes the album with an upbeat, positive message and prominently features saxophone by Alto Reed. The best of these lot is “Fire Lake”, a song originally written for Seger’s 1975 album Beautiful Loser and featuring Glen Frey and Don Henley from the Eagles on backing vocals. Released as the lead single from the album, “Fire Lake” was a Top 5 hit in both the US and Canada.

Against the Wind reached 5x Platinum in sales and won a Grammy Award for Best Rock Performance by a Duo or Group with Vocal. This high-water commercial mark was something Seger later admitted as his goal for this album as he was “gunning for nothing less than a chart-topping hit when he entered the studio”.

Part of Classic Rock Review’s celebration of 1980 albums.

Bridge Over Troubled Water by Simon and Garfunkel

Bridge Over Troubled Water
by Simon & Garfunkel

January 27, 2020

by Classic Rock Review with No Comment Album Reviews

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Simon & Garfunkel saved their best for last with the early 1970 release of Bridge over Troubled Water, the fifth studio album by the New York based folk duo. The record shows the artists branching out to new musical avenues with smooth production featuring warm sonic elements to showcase the exquisite compositions of chief songwriter Paul Simon. Despite the breakup of Simon & Garfunkel later in 1970, the album’s success reverberated for several years as it received multiple Grammy awards and even briefly became the best selling record of all time as it topped album charts worldwide.

The duo’s highly successful third album, Parsley, Sage, Rosemary and Thyme was issued in October 1966 and followed by a series of non-album singles including “A Hazy Shade of Winter” and “At the Zoo”, both of which made the Top 20 on the pop charts. However, Simon developed a bout of writer’s block which delayed any follow-up album in 1967. Then Hollywood came knocking as director Mike Nichols, a big fan of Simon & Garfunkel’s previous records, sought the duo to record some songs for the soundtrack to his new film, The Graduate, in 1968 with the single “Mrs. Robinson” becoming the first rock n’ roll song to win the Record of the Year Grammy. Simon & Garfunkel’s fourth studio album, Bookends was also released in 1968 and reached the top of the album charts. Both Simon and Art Gurfunkel were invited to audition for acting roles in Nichols’ next film, Catch 22, but only Garfunkel got the role. This caused a bit of a rift between the two musicians, especially as filming took up much of 1969 with much taking place in Mexico.

Production of Bridge Over Troubled Water took place in New York and Los Angeles studios with the help of producer Roy Halee, who Garfunkel once referred to as the third member of the group. This album also partly abandoned their traditional style by incorporating further elements of rock, R&B, gospel, and world music as well as using more singular lead voices by each singer, rather than the traditional blended harmonies.

Bridge Over Troubled Water by Simon & Garfunkel
Released: January 26, 1970 (Columbia) Produced by: Paul Simon, Art Garfunkel & Roy Halee Recorded: Columbia Studios, New York City & CBS Columbia Square, Los Angeles
Side One	Side Two
Bridge over Troubled Water El Cóndor Pasa (If I Could) Cecilia Keep the Customer Satisfied So Long, Frank Lloyd Wright	The Boxer Baby Driver The Only Living Boy in New York Why Don’t You Write Me Bye Bye Love Song for the Asking
Primary Musicians
Paul Simon – Vocals, Acoustic Guitar, Percussion Art Garfunkel – Vocals, Percussion Fred Carter Jr. – Guitars Larry Knechtel – Piano, Keyboards Joe Osborn – Bass Hal Blaine – Drums, Percussion

Like most previous material by Simon & Garfunkel, the songs here were initiated by Simon and next he would work on the harmonies with Garfunkel. However, with the title track “Bridge Over Troubled Water”, Simon basically gave the song as his acoustic composition was transformed with Garfunkel on solo vocals and Larry Knechtelon piano dominating most of the recording. The payoff does come with the exquisitely harmonized third verse followed by the orchestra crescendo to close out this opening title track, which topped the Pop charts and won a Grammy for Song of the Year in 1971. “El Cóndor Pasa (If I Could)” follows as a traditional Peruvian instrumental, centuries old onto which Simon added lyrics on top< This interesting track starts with a distant flamenco guitar with the verse proper containing a European waltz beat and a flute mimicking the lead vocals throughout, an arrangement that carries an air of psychedelia.

The inventiveness continues with “Cecilia”, a low-fi dance song driven by the harmonized vocals over a totally unique percussion arrangement that was recorded at home and placed on a loop. “Keep the Customer Satisfied” is an upbeat, acoustic-driven pop song with rich harmonies and a later horn section to complete to fine effect. “So Long, Frank Lloyd Wright” hearkens back to their early sixties folk style, but with just a touch of mellotron to give it a “modern” edge along. “The Boxer” is another gem of production, from the perfectly Travis-style finger-picked acoustic guitars by Simon and Fred Carter Jr to the contra bass and tuba by Bob Moore to the wild percussion effects recorded on location at a cathedral at Columbia University by the legendary Hal Blaine.

Simon and Garfunkel

While not quite as interesting, the latter part of the album does include some unique moments. “Baby Driver” is a bluesy acoustic folk track in a style later mastered by Jim Croce, while “Why Don’t You Write Me” is upbeat acoustic folk with Joe Osborn laying down some excellent bass. Osborn also shines on “The Only Living Boy in New York”, a song written by Simon about Garfunkel flying off to Mexico to film Catch 22 and featuring a chorus of backing vocals recorded live in an echo chamber in Los Angeles. The Everly Brothers’ “Bye Bye Love” is an odd live inclusion here with some treated hand clapping by the audience, recorded at multiple gigs, before the closing “Song for the Asking”, a pure Paul Simon style folk with an edge to become a very short soliloquy to complete the duo’s final studio album.

Bridge Over Troubled Water topped the charts in ten countries around the world and was on the best-selling album list for the years 1970, 1971 and 1972. With this massive success, both musicians decided to pursue independent projects and ultimately solo careers as Simon & Garfunkel dissolved into musical history.

Part of Classic Rock Review’s celebration of 1970 albums.

Veedon Fleece by Van Morrison

January 11, 2020

by Classic Rock Review with 4 Comments Album Reviews

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This album review is provided by Mike Fishman, who has written about Van Morrison for the Mystic Avenue blog and writes about film for IndependentFilmNow.com.

Any musician with a career spanning 50 years is going to hit at least a few major milestones and when you’re talking about an artist as prolific as Van Morrison the milestones inevitably start piling up. This past Fall of 2019 found many longtime fans celebrating 45 years since the release of Veedon Fleece, Morrison’s eighth studio album and one of his lesser-discussed yet just as affecting works. This October 1974 studio release, heavily influenced by Morrison’s Irish roots and personal life, shares a special kinship with 1968’s Astral Weeks as two albums that mirror and complement each other, in both subtle and overt ways.

While critically acclaimed upon it’s release, Astral Weeks did not initially sell well during a time when Morrison was financially struggling. His next (third) solo album, Moondance, would become his million-selling commercial breakthrough in 1970. Here, Morrison abandoned the previous record’s abstract folk compositions and composed more accessible and rhythmic songs. This commercial and/or critical success continued with his subsequent albums – His Band and the Street Choir (1970), Tupelo Honey (1971), Saint Dominic’s Preview (1972) and Hard Nose the Highway (1973).

All of the songs on Veedon Fleece were composed and produced by Morrison with most written in his native Ireland in October 1973. The album features prominent acoustic guitar, bass, flute and strings with the vocals delivered with an intensity and a narrative approach in the lyrics that is seen less frequently elsewhere. While Morrison would continue to mine sites of remembrance from his youth in Belfast, few other albums are as steeped in that setting as this one.

Veedon Fleece by Van Morrison
Released: October, 1974 (Warner Bros.) Produced by: Van Morrison Recorded: Mercury Studios, New York & Caledonia Studios, Oakland, CA, November 1973-Spring 1974
Side One	Side Two
Fair Play Linden Arden Stole the Highlights Who Was That Masked Man Streets of Arklow You Don’t Pull No Punches, But You Don’t Push the River	Bulbs Cul de Sac Comfort You Come Here My Love Country Fair
Primary Musicians
Van Morrison – Lead Vocals, Guitars Ralph Walsh – Guitars James Trumbo – Piano David Hayes – Bass Dahaud Shaar – Drums

Veedon Fleece opens with the second longest song on the album. “Fair Play,” and introduces a markedly consistent sound and feel that will inform the rest of the album with a mix of folk, jazz, blues and soul as well as lyrics incorporating Morrison’s Irish roots. Here, James Trumbo‘s piano is at the forefront, playing off of Morrison’s committed vocals with a gentle melody that falls into place than charges ahead. “Linden Arden Stole the Highlights” continues the album in an introspective mood. Trumbo’s piano opens the song tenderly, with notes of melancholy and regret until Morrison enters, assured and conversational with the lyrics now directly narrative and naming the main character. Morrison sings hard, barking out words, biting them off at times, and utilizing a falsetto that soars over acoustic guitar and strings. His impassioned vocals grow intense when he darkly draws out the word “hatchet.” Across just two and half minutes a story emerges of a hard-drinking man hiding out in San Francisco after having “stole the highlights” with “one hand tied behind his back.”

The third song on Veedon Fleece connects directly to its predecessor with the first line of “Who Was That Masked Man” echoing the closing line of “Linden Arden Stole the Highlights,” now detailing the loneliness of “livin’ with a gun.” Morrison again adopts a falsetto that lends urgency to the mournful melody as acoustic guitar dances around the sung lines. The title can’t help but evoke the Lone Ranger; a symbol of the America that Morrison was taking a respite from but the protagonist here is no hero in the traditional sense. There is a palpable sense of paranoia and of being watched with the image of a fish inside a bowl, an image Morrison would return to years later on one of his many songs about the pitfalls of fame, “Goldfish Bowl.” “Streets of Arklow” is notable as a culmination of the intermingling of the folk, soul and blues of its preceding three songs and the first song on the album where Morrison starts to really let loose. It’s a song enraptured with beauty and the sharing of beauty with another. “Streets of Arklow” is supported by gliding strings, at times murmuring in the background, then swelling darkly, to give the song a strong sense of movement until it comes to an abrupt stop that feels immediately picked up by the next song, “You Don’t Pull No Punches, But You Don’t Push The River”. The centerpiece of the album, this side one closer is the longest song on the album with hard-strummed acoustic guitar and scat singing as strings swirl and a flute trills against probing piano. The journey in “You Don’t Pull No Punches, But You Don’t Push the River” is partly down memory lane but mostly in the clear present, possibly conjoining images of Ireland and America.

Van Morrison in 1974

Opening Side Two of Veedon Fleece, “Bulbs” is strikingly jaunty with Morrison’s vocals featuring a country-blues “hey, hey, hey” along with some deep grunting that suggests a tuba. “Cul De Sac” marks a return to the more introspective feel of the album. Bluesy piano and guitar drive the song as Morrison delivers one of his most impassioned vocals on record, as he emphasizes nearly every word, enunciating, stretching vowels and repeating syllables. “Comfort You” descends gently, with Morrison singing sweetly, a guitar fluttering and strings entering, caressing the melody, while “Come Here My Love” opens with spare guitar and finds Morrison singing in a more direct manner, almost conversational although occasionally elongating a word. “Country Fair” closes the album with guitar, bass and synthesizer whispering behind Morrison’s wistful vocals as Jim Rothermel‘s recorder remains prominent throughout. The delicate melody and impassioned singing create an atmosphere both restless and calming to close the album.

Veedon Fleece has been referred to as Van Morrison’s “forgotten masterpiece” and its influence reverberated through the music of scores of artists for decades to come. After a decade without taking any time off, Morrison took a hiatus from music following the album’s release and would not release a follow-up album for three years.

Part of Classic Rock Review’s celebration of 1974 albums.

Brand New Day by Sting

December 28, 2019

by Classic Rock Review with No Comment Album Reviews

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Sting‘s sixth solo record, Brand New Day was a 1999 critical and commercial success that ultimately earned a Grammy Awards for both Best Pop Vocal Album and Best Male Pop Vocal Performance. The album is filled with tracks of generous length composed through an easy approach and recorded with expert studio production. The result is a multi-million selling Top 10 album that closed out the decade and century on a high note for the former Police front man.

Sting decided to leave the Police (albeit unofficially) after the tremendous success of 1983’s Synchonicity II and the subsequent stadium tour. The trio agreed to next concentrate on solo projects with Sting’s 1985 debut The Dream of the Blue Turtles achieving multi-platinum success. Sting was now an established solo artist who collaborated on several other pop projects and allowed him to transcend the Police as a pop icon. 1987’s Nothing Like the Sun was nearly as successful as its predecessor as was the Grammy winning 1993 album (his fourth solo effort), Ten Summoner’s Tales. However Sting’s 1996 album, Mercury Falling was a commercial disappointment.

Producer Hugh Padgham was originally slated to produce the album which would become Brand New Day, but Sting changed direction and decided to co-produce it with Kipper. The album was recorded in various European studios throughout 1999.

Brand New Day by Sting
Released: September 27, 1999 (A&M) Produced by: Sting & Kipper Recorded: Il Palagio, Italy, Studio Mega, Paris, Right Track Recording and Avatar Studios, New York City, Air Lyndhurst Hall, London, 1999
Track Listing	Primary Musicians
A Thousand Years Desert Rose Big Lie, Small World After the Rain Has Fallen Perfect Love… Gone Wrong Tomorrow We’ll See Prelude to the End of the Game Fill Her Up Ghost Story Brand New Day	Sting – Lead Vocals, Bass, Synths Dominic Miller – Guitars Kipper – Keyboards Manu Katché – Drums Vinnie Colaiuta – Drums

Brand New Day by Sting

Released: September 27, 1999 (A&M)
Produced by: Sting & Kipper
Recorded: Il Palagio, Italy, Studio Mega, Paris, Right Track Recording and Avatar Studios, New York City, Air Lyndhurst Hall, London, 1999

Track Listing

Primary Musicians

A Thousand Years
Desert Rose
Big Lie, Small World
After the Rain Has Fallen
Perfect Love… Gone Wrong
Tomorrow We’ll See
Prelude to the End of the Game
Fill Her Up
Ghost Story
Brand New Day

Sting – Lead Vocals, Bass, Synths
Dominic Miller – Guitars
Kipper – Keyboards
Manu Katché – Drums
Vinnie Colaiuta – Drums

A long synth swell intro leads to the percussion driven verse of “A Thousand Years”, with Sting’s voice oft mimicking the string melody. The hit “Desert Rose” follows and the world influences are evident with an Arabian feel to it throughout. This song, which features a duet performance with Algerian singer Cheb Mami, was a hit worldwide including the Top 20 in the UK and the US.

“Big Lie, Small World” is a jazzy song throughout with choppy guitar and bouncy bass under a fine melody leading to an equally fine horn lead to complete the track. “After the Rain Has Fallen” is the most upbeat and most intense song thus far as a funk/rock arrangement with strong hook and more subtle use of synths, while “Perfect Love… Gone Wrong” ranges from cool jazz to French rap but the novelty wears thin pretty quickly.

Sting

The real heart of the album comes on its original second side, starting with “Tomorrow We’ll See”, a fine track which builds in intensity as it maintains its cool jazz format throughout. “Fill Her Up” is where the album takes its biggest left turn with a lyric heavy Western arrangement with catchy melodies and rhythm, featuring guest James Taylor and pedal steel guitar by BJ Cole. “Ghost Story” at first sounds like Medieval English folk but then morphs into a more pop oriented love song for another interesting track, This all leads to the closing title track “Brand New Day”, as Sting saved the best pop song for last, with Stevie Wonder‘s harmonica adding a perfect compliment.

Following the success of Brand New Day, Sting found continued success as a solo artist into the new century and finally reunited with the Police for a world tour in 2007.

Part of Classic Rock Review’s celebration of 1999 albums.

Fullfilligness First Finale by Stevie Wonder

Fullfillingness’ First Finale by Stevie Wonder

December 17, 2019

by Classic Rock Review with No Comment Album Reviews

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At the age of just 24, Stevie Wonder released his 17th studio album with 1974’s Fulfillingness’ First Finale. This record came when the composer, musician and vocalist was in the heart of his prime creative output and features Wonder playing most of the instruments along with an array of backing vocalists. The result is a refined blend of pop, jazz and soul using economical musical arrangements along with a somber and reflective lyrical tone overall.

In 1971, Wonder had allowed his Motown contract to expire after nearly a decade on the famed label as an adolescent star. After two independently recorded albums, he negotiated a new contract with Motown Records which gave him more musical autonomy starting with the 1972 Music of My Mind, a full-length artistic statement with some lyrics that dealt with social and political issues. Talking Book followed later that year and featured a couple of number 1 hits, “Superstition” and “You Are the Sunshine of My Life”, which also won three Grammy Awards between them. In 1973 won three more Grammy Awards with the epic social consciousness of the record Innervisions.

Wonder nearly lost his life when he was in a serious car accident while on tour in August 1973. After months of recovering and a renewed sense of faith and personal strength, he got back on tour and developed songs through improvisation and introspection in early 1974. Fulfillingness’ First Finale was co-produced by Wonder along with Robert Margouleff & Malcolm Cecil and was recorded at multiple studios in New York City and Los Angeles.

Fullfillingness’ First Finale by Stevie Wonder
Released: July 22, 1974 (Tamla) Produced by: Stevie Wonder, Robert Margouleff & Malcolm Cecil Recorded: Record Plant Studios and Westlake Recording Studios, Los Angeles; Media Sound and Electric Lady Studios, New York, 1974
Side One	Side Two
Smile Please Heaven is 10 Zillion Light Years Away Too Shy To Say Boogie On Reggae Woman Creepin’	You Haven’t Done Nothin’ It Ain’t No Use They Won’t Go When I Go Bird of Beauty Please Don’t Go
Primary Musicians
Stevie Wonder – Lead Vocals, Piano, Keyboards, Harmonica, Drums, Percussion Michael Sembello – Guitars Reggie McBride – Bass Deniece Williams, Minnie Riperton, Shirley Brewer – Backing Vocals

The smooth pop/jazz ballad of the opener “Smile Please” sets the warm vibe for the album, led by Wonder’s Fender Rhodes piano and the Latin flavored guitar of Michael Sembello. “Heaven Is 10 Zillion Light Years Away” is ultimately a Gospel song where Wonder conveys confidence in his devotion and is backed by an array of backing vocalists including pop legend Paul Anka. “Too Shy to Say” follows as a different kind of ballad with Wonder’s piano complemented by the steel guitar of Pete Kleinow, adding unique ambiance for this otherwise vocal-driven ballad.

The album takes an upbeat turn with “Boogie On Reggae Woman”, a Top 5 pop hit which melds reggae with mid-seventies and displays Wonder’s incredible mastery of technologically diverse instrumentation. “Creepin'” is a pure soul love song featuring a small array of then-cutting-edge synthesizers, while the political and funky “You Haven’t Done Nothin'” is melodically entertaining with nice horn arrangement and features Wonder’s overdubbed orchestra of percussive elements. This second side opener also features members of The Jackson 5 on background vocals.

Stevie Wonder on stage

The latter part of this record is where the pure genius resides. “It Ain’t No Use” returns to the spiritually driven theme with the expert use of backing vocals in a smooth soul vibe swelling to a stronger hook while maintaining its overall compositional integrity. The haunting “They Won’t Go When I Go” was co-written by Yvonne Wright and features a sound both ancient and modern as well as a chorus of self-harmonizing by Wonder. With a combo of his smooth and upbeat styles along with great melody and strategic backing vocal chants, Wonder delivers a masterpiece with the aptly titled “Bird of Beauty”, which is also rhythmically interesting due to his fine drumming and Moog bass. “Please Don’t Go”, an excellent, upbeat love song closes the album with a style that forecasts the best elements of modern day R&B, including a fine mix of electric piano and synths and a sweet, piercing harmonica lead to climax the mood before the crescendo of the final verse and coda brings it all home.

Fullfillingness’ First Finale was Wonder’s first to officially top the Pop Albums charts and, like its two predecessors, this album received three Grammy Awards, including Album of the Year, Best Male Pop Vocal and Best Male Rhythm and Blues Vocal Performance. In fact, when Paul Simon won the Album Of The Year Grammy the following for year for Still Crazy After All These Years, he sarcastically thanked Stevie Wonder for not making an album in 1975.

Part of Classic Rock Review’s celebration of 1974 albums.

The White Stripes

December 11, 2019

by Classic Rock Review with No Comment Album Reviews

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The self-titled 1999 debut by the Michigan based debut, The White Stripes was at once a nod back to the American blues from the century about to end and a preview of the minimalist arrangements trend of the century to come. With great economy, the husband and wife duo of vocalist/guitarist Jack White and drummer Meg White deliver a loud, raunchy, unique blend of blues, punk, country and metal among this generous collection of both originals and covers.

Jack Gillis met Meg White while he still was in high school and a drummer in a local band. The two began to frequent local music venues together. The two married in 1996 and Jack defied convention by taking his wife’s surname. The following year, Meg first began to learn the drums as Jack migrated to guitar and they found a surprising synergy together as a duo. They chose the name “The White Stripes” due to their last name and Meg’s love of peppermint hard candy. They also deliberately crafted their mysterious image by only outfitting their production in only the colors red, black and white, refusing to be interviewed separately, and occasionally (and bizarrely) presenting themselves as brother and sister.

In 1998, The White Stripes recorded and released the singles “Let’s Shake Hands” and “Lafayette Blues” on the Detroit-based independent label Italy Records. The debut album was recorded in Detroit in January 1999 with producer Jim Diamond and released in the summer of that year.

The White Stripes by The White Stripes
Released: June 5, 1999 (Sympathy for the Record Industry) Produced by: Jack White & Jim Diamond Recorded: Ghetto Recorders and Third Man Studios, Detroit, January 1999
Track Listing	Group Musicians
Jimmy the Exploder Stop Breaking Down The Big Three Killed My Baby Suzy Lee Sugar Never Tasted So Good Wasting My Time Cannon Astro Broken Bricks When I Hear My Name Do Screwdriver One More Cup of Coffee Little People Slicker Drips St. James Infirmary Blues I Fought Piranhas	Jack White – Lead Vocals, Guitars, Piano Meg White – Drums

The White Stripes by The White Stripes

Released: June 5, 1999 (Sympathy for the Record Industry)
Produced by: Jack White & Jim Diamond
Recorded: Ghetto Recorders and Third Man Studios, Detroit, January 1999

Track Listing

Group Musicians

Jimmy the Exploder
Stop Breaking Down
The Big Three Killed My Baby
Suzy Lee
Sugar Never Tasted So Good
Wasting My Time
Cannon
Astro
Broken Bricks
When I Hear My Name
Do
Screwdriver
One More Cup of Coffee
Little People
Slicker Drips
St. James Infirmary Blues
I Fought Piranhas

Jack White – Lead Vocals, Guitars, Piano
Meg White – Drums

Starting with the original ,”Jimmy the Exploder”, The White Stripes album contains 17 total tracks with just a handful clocking in at more than three minutes. Early on, there is a good cover of Robert Johnson’s “Stop Breaking Down”, where Jack White provides a slide lick repeated throughout. “The Big Three Killed My Baby” refers to the major Detroit automakers and the charge that they are manufacturing automobiles which are intentionally engineered to become prematurely obsolete.

“Suzy Lee” features a beautiful bluesy electric slide by guest Johnny Walker set in between Jack White’s heavy riffing that makes this a bit of a modern classic, while “Sugar Never Tasted So Good” is a bit less refined and more spontaneous with Meg White providing some odd percussion effects. This album was officially dedicated to Delta blues legend Son House and the track “Cannon” features an a cappella section of the traditional American gospel blues song “John the Revelator”. The hyperactive “Broken Bricks” was co-written by Stephen Gillis as a full-fledged garage-rock romp.

The White Stripes

Not all the tracks on The White Stripes are top-notch and, in fact, some are pure filler and/or downright frivolous. These include (the aptly titled) “Wasting My Time”, “Astro”, “Screwdriver”, “Little People” and “Slicker Drips”. However, the latter part of the album is saved by a couple of good renditions of cover songs. The isolation tone of Bob Dylan’s “One More Cup of Coffee” is followed by the traditional “St. James Infirmary Blues”, where Jack White breaks the formula and plays a decent piano throughout. Walker returns to provide slide guitar on the album closer “I Fought Piranhas”.

While The White Stripes did reach Gold status in the United States, it didn’t really receive much attention or critique until a few years later when the duo’s fame began to spread. Still, this set the pace for more success to come in the new millennium, starting with 2000’s De Stijl, the home recorded analog follow-up album.

Part of Classic Rock Review’s celebration of 1999 albums.

Couldn’t Stand the Weather by
Stevie Ray Vaughan & Double Trouble

November 21, 2019

by Classic Rock Review with No Comment Album Reviews

Buy Couldn’t Stand the Weather

Couldn’t Stand the Weather is the critically acclaimed sophomore release by Stevie Ray Vaughan and Double Trouble. The album features an equal mix of original compositions and cover songs, all executed masterfully by Vaughan and company’s original interpretation of classic Texas-style boogie blues. While the album was put together in a hurry following a frenzy of recording and touring during that year, the spirited energy works perfectly within this 1984 snapshot of musical lightening.

Vaughan had been an active musician since he was a teenager in the late 1960s, performing in groups called Brooklyn Underground and Southern Distributor. Bassist Tommy Shannon first heard Vaughn play at a Dallas club and they later began performing together in a band called Krackerjack. Around this time, Vaughn also gained experience as a studio session musician and by sitting in with blues legends like Buddy Guy, Jimmy Rogers and Albert King and groups such as ZZ Top. Double Trouble was officially formed in Austin, TX in 1978 as the trio of Vaughn, Shannon and drummer Chris Layton. However, recognition of the group outside of Texas would take nearly a half decade when record producer Jerry Wexler recommended them for the Montreux Jazz Festival, where there controversial performance (later released on DVD in September 2004) garnered widespread attention. Jackson Browne offered the group free use of his personal recording studio in downtown Los Angeles . The group recorded ten songs in two days which became the group’s debut album Texas Flood. While in the studio, Vaughan received a call from David Bowie who invited him to record sessions for his upcoming studio album, Let’s Dance, released in April 1983.

After the success of Texas Flood, the group returned to the studio in short time to record a follow-up. Couldn’t Stand the Weather was recorded through much of January 1984 with producers Richard Mullen, Jim Capfer and John Hammond at the Power Station in New York City.

Couldn’t Stand the Weather by Stevie Ray Vaughan
Released: May 15, 1984 (Epic) Produced by: Richard Mullen, Jim Capfer, Stevie Ray Vaughan and Double Trouble Recorded: Power Station, New York City, January 1984
Side One	Side Two
Scuttle Buttin’ Couldn’t Stand The Weather The Things (That) I Used to Do Voodoo Chile (Slight Return)	Cold Shot Tin Pan Alley Honey Bee Stang’s Swang
Group Musicians
Stevie Ray Vaughan – Guitars, Vocals Tommy Shannon – Bass Chris Layton – Drums

The album begins with the instrumental “Scuttle Buttin'”, an upbeat piece which tonally sets the stage for the title track. “Couldn’t Stand The Weather” features a definitive, indelible riff with strategic stops led by Layton in between during the deliberative song intro. The song proper has great rhythmic movement and well-placed chord changes under melodic vocals, along with two back to back leads that showcase Vaughn’s incredible talent. Next comes the Eddie Jones cover “The Things (That) I Used to Do”, a traditional slow blues featuring a guest appearance by Stevie’s brother Jimmie Vaughn providing rapid guitar licks in between each vocal line.

A true highlight is the rendition of Jimi Hendrix’s “Voodoo Chile (Slight Return)”, which maintains much of the psychedelic vibe of the original while adding some hair and with a bit more technical clarity. This version starts with the verse before going into an extended jam before reaching next verse. “Cold Shot” kicks off the second side as an accessible track for pop/rock audiences built on simple but catchy whiny guitar riff which at once complements and contrasts the smooth and reserved vocals of Vaughn.

Stevie Ray Vaughn and Double Trouble

The album thins out a bit through its three closing tracks. “Tin Pan Alley” starts with an extended, fine long intro but this song overall isn’t quite as dynamic and seems like a bit of a missed opportunity for this over nine minute track. The much shorter “Honey Bee” returns to upbeat blues, along with slightly silly lyrics as it incorporates some fifties style rock to the distinct blues style as Shannon adds some great bass patterns. “Stang’s Swang” is a cool, jazzy instrumental with guests Fran Christina on drums and Stan Harrison on saxophone taking the spotlight, as Vaughn just playing competent guitar chords for an overall odd but interesting epilogue to the record.

Couldn’t Stand the Weather reached the Top 40 on the Billboard 200 chart and led to a worldwide tour in support of album. In an interview around the time, Vaughan said his goal for the future was to “keep playing our hearts out. You know, I love the blues. What else is there?”

Part of Classic Rock Review’s celebration of 1984 albums.

Reggatta de Blanc by The Police

October 25, 2019

by Classic Rock Review with No Comment Album Reviews

Buy Reggatta de Blanc

Driven by the strength of two UK number one singles, Reggatta de Blanc helped launch The Police into the commercial stratosphere. Building on the strength of their 1978 debut, Outlandos d’Amour, this second album marked a slight change in the band’s sound, with a more polished and refined production of the trio’s energetic musical performances. The album’s title loosely translates to “white reggae”, a label which aptly describes the core of the group’s signature sound but falls short of touching on the depth of their influences.

In 1976, American drummer Stewart Copeland was playing in a British progressive rock band called Curved Air when he met former school teacher turned musician Gordon Sumner, professionally known as Sting. The two jammed and contemplated starting a punk rock band with guitarist Henry Padovani. The trio toured the UK as a supporting act and even recorded a single called “Fall Out” in 1977. Later that year, Copeland and Sting merged with two members of a band called Strontium 90, Mike Howlett and guitarist Andy Summers. About a decade older than the other musicians, Summers had much music industry experience dating back well into the sixties with groups such as Eric Burdon and the Animals. After some live gigs, the Police pared back to a trio with Sting composing original material. Copeland’s older brother, producer Miles Copeland, helped finance the Police’s first album, Outlandos d’Amour, released in 1978. On the strength of the single,”Roxanne”, Miles got the group signed with A&M Records, and the later hit “Can’t Stand Losing” sparked the group’s first tour of the USA.

Like it’s predecessor, Reggatta de Blanc was recorded at Surrey Sound with producer Nigel Gray. The studio was considered too small for a major label act but it was where the group was comfortable recording. With a small budget and limited time for recording, some of the material was re-purposed from previous group projects.

Reggatta de Blanc by The Police
Released: October 2, 1979 (A&M) Produced by: Nigel Gray & The Police Recorded: Surrey Sound Studios, Leatherhead, England, February – August 1979
Side One	Side Two
Message in a Bottle Reggatta de Blanc It’s Alright for You Bring on the Night Deathwish	Walking on the Moon On Any Other Day The Bed’s Too Big Without You Contact Does Everyone Stare No Time This Time
Group Musicians
Sting – Lead Vocals, Bass, Synths Andy Summers – Guitars, Synths Stewart Copeland – Drums, Percussion, Vocals

The opener “Message in a Bottle” was the lead single from the album and subsequently became the group’s first number one hit on the UK Singles chart. This jazzed up reggae with a definitive pop/rock sheen was derived from a riff that Sting had developed while on the first American tour in 1978. The potent and metaphoric lyrics about finding other lonely “castaways” were written during the Surrey studio sessions. The title quasi-instrumental “Reggatta de Blanc” commences with Copeland’s rapid percussive intro, leading to bass rhythm under various delicate guitar textures and vocal chanting and yodeling throughout. Composed collectively by the trio, this evolved from improvisational stage jams during performances of the hit “Can’t Stand Losing You” and the track went on to surprising win a Grammy for Best Rock Instrumental Performance in 1980.

On “It’s Alright for You” the group reached back to their punk roots, albeit with a little more of pop smoothness and variable tempos to make it a dance bop. Sting’s “Bring on the Night” has an extended, dramatic intro before settling into another fine pop/reggae track with some of the lyrics re-purposed from a song he wrote with his former band Last Exit. “Deathwish” follows as an interesting closer to the original first side, using several simple riffs, phrases and beats all fused together for a unique kind of jam.

The Police 1979

The textual “Walking on the Moon” was built on Sting’s simple bass riff, Summers’ atmospheric chord strum and very subtle high end percussion by Copeland. Sting said he wrote it as “walking around the room” while intoxicated one night after a concert, remembering the tune the following morning but altering the title. The song became their second British chart topper and a big hit in many other countries but did not chart in the United States. The first of two songs to feature Copeland on lead vocals, “On Any Other Day” is a happy-go-lucky rock track about the crumbling of domestic life. This is followed by the pure reggae track “The Bed’s Too Big Without You”, another track originated by Sting during the Last Exit days. Copeland penned the next two songs, “Contact” which features a crisp and jangly intro riff by Summers trading of with rich synths in the verses, and “Does Everyone Stare”, a tune where Summers plays piano Copeland does his second lead vocals. “No Time This Time” is a strong, punk-like rock closer which actually includes a rare guitar lead. The song was previously released as the B-Side to the “So Lonely” single in November 1978.

Reggatta de Blanc was the first of four consecutive albums by The Police to reach #1 on the UK Album charts. Soon after the group embarked on their first world tour, branching out into places that had been seldom destinations for rock performers like India, Taiwan, Hong Kong, Greece, Egypt and Mexico.

Part of Classic Rock Review’s celebration of 1979 albums.

Human Clay by Creed

October 19, 2019

by Classic Rock Review with No Comment Album Reviews

Buy Human Clay

Human Clay is the 1999 second album by Creed, which built on the momentum of their fine 1997 debut to reach their climax of popularity. This #1 album was an instant success which surprisingly debuted at the top of the charts. The record rose to prominence by finding the right combination of post-grunge musical theatrics with anthem-laced pop melodies, laying a foundation that helped the group ride high as we entered into a new century and millennium.

The group’s self-financed debut, My Own Prison, became a surprise hit world wide and, at the time, was one of the Top 200 selling albums of all time. With the proceeds from that album, the group instantly began to compose and record music for a follow-up record, using the same formula of music by guitarist guitarist Mark Tremonti and lyrics by vocalist Scott Stapp.

Producer John Kurzweg also returned for this album. In recognition of what fans craved from the first album and not really being concerned with originality, Kurzweg built a continuation of the group’s successful sonic attack, which paralleled the thematic direction. According to Tremonti, this album’s theme (and cover art) is meant to represent our ability to lead our own path and make our own destiny. This, along with the theme of many songs, gives Human Clay a real spiritual feel throughout.

Human Clay by Creed
Released: September 28, 1999 (Wind-Up) Produced by: John Kurzweg Recorded: Winter 1998-1999
Track Listing	Primary Musicians
Are You Ready? What If Beautiful Say I Wrong Way Faceless Man Never Die With Arms Wide Open Higher Wash Away Those Years Inside Us All	Scott Stapp – Lead Vocals Mark Tremonti – Guitars, Vocals Brian Marshall – Bass Scott Phillips – Drums

Human Clay by Creed

Released: September 28, 1999 (Wind-Up)
Produced by: John Kurzweg
Recorded: Winter 1998-1999

Track Listing

Primary Musicians

Are You Ready?
What If
Beautiful
Say I
Wrong Way
Faceless Man
Never Die
With Arms Wide Open
Higher
Wash Away Those Years
Inside Us All

Scott Stapp – Lead Vocals
Mark Tremonti – Guitars, Vocals
Brian Marshall – Bass
Scott Phillips – Drums

The opening track “Are You Ready?” starts with an Eastern sounding intro before fully breaking into its rock verses, complete with some odd chord combos which at once make it a little clunky and a bit interesting. An issue with the early part of Human Clay is the formulaic song craft and this is almost immediately evident as “What If” sounds very similar to the opening track in sequence. However, this second song reached greater popularity as it was used in the film Scream 3 in 2000 and it’s accompanying video worked off that theme. “Beautiful” is another dramatic track with verses delicately picked in contrast to the sloshy rock choruses, while “Say I” is a choppy and thematic dark rocker.

Things start to get interesting with “Wrong Way”, a mini-suite with multiple forms and musical textures to make for a good overall listen. Here, Stapp exercises various levels of power and restraint vocally while Kurzweg adds B3 organ and guest Kirk Kelsey provides mandolin. “Faceless Man” is another good track, perhaps the best thus far on the album, with measured acoustic and electric combinations picked and strummed expertly by Tremonti along its compositional and some stand out bass by Brian Marshall. On the track “Never Die”, the band adopts some Alice-in-Chains-like simplicity with a grunge approach and hammered-on notes in the riff pattern. This track also features Scott Phillips providing his best drumming thus far.

Creed 1999

The album finishes strong with its most indelible tracks late in the sequence. “With Arms Wide Open” starts with subtle guitar textures with melodic lead vocals, offering the clearest pop sheen on top of the group’s typical hard edge, including some string arrangements in the uplifting arrangement. This song earned Stapp and Tremonti a Grammy Award for Best Rock Song in 2001, along with several other awards. “Higher” is the group’s ultimate acoustic grunge anthem with a fantastic hook that made this a great hit. Like the previous song, this makes nice use of bridge/outtro to take the song to a “higher” level. “Wash Away Those Years” follows as a quiet and dark ballad, leading to one final anthemic track, “Inside Us All”, to close the album with a theme that speaks to the “peace inside your soul”.

Human Clay sold nearly 20 million copies worldwide and charted all around the world. The album’s success was a mixed blessing as the group’s meteoric rise made them subject to some subsequent derision and Marshall struggled with substance abuse and was out of the group before the group recorded their third album in 2001.
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Part of Classic Rock Review’s celebration of 1999 albums.